SUPERVISOR Of DRAWING, PUBLIG 'SCHOOLS BOOT0H s/f&PA/ia ■—— — ww .imiiu it i i^i mniiiiiiiMwiiiHiin li LIBRARY OF THE UNIVERSITY OF CALIFORNIA Received Tu^Uf > l89$ *~i 0 // ^Accession No . /jQ / 3 /jL • Class No. -*# \ ^JS^- PRIMER OF DESIGN. BY CHARLES A. BARRY, SUPERVISOR OF DRAWING, PUBLIC SCHOOLS, BOSTON, MASS. " Never lose an opportunity of seeing any thing beautiful. Beauty is God's hand- writing, — a wayside sacrament. Welcome it in every fair face, every fair sky, and every fair flower; and thank Him for it, the Fountain of all loveliness. Drink it in, simply, earnestly, with all your eyes: 'tis a charmed draught, — a cup of blessing." GEO. WEBB ALEXANDER, SUCCESSOR TO j^OI MARKET ST., S, Ff Pacific Coast Agent. BOSTON: LEE AND SHEPARD, PUBLISHERS. NEW YORK: CHARLES T. DILLINGHAM. ■ 63 Copyright, 1878, BY CHARLES A. BARRY. All Rights Reserved. 7*'H£ Franklin Press: Electrotyped and Printed by Rand, Avery, &> Co., Boston. ©F THE UNIVERSITY TO MY FRIEND SEaiter Smttfj, STATE DIRECTOR OF ART-EDUCATION IN MASSACHUSETTS, I ©etucate tfjtg Booft, « IN TOKEN OF MY dAe\ APPRECIATION OF HIS DISTINGUISHED SERVICE AND ABILITY &s an &tt*iftlaster. C. A. B. " A very little reflection must convince the most utilitarian, that, in an advanced stage of society, decoration enters so fully into all works of art, as to constitute, in perhaps a majority of cases, the greater part of their market value. We see the principle illustrated in the importance that is attached to surface-ornamentation in the manufacture of carpets and oil-cloths and matting and wall-paper and cur- tains ; in printed cloths, and other articles designed for dress ; in crochet and tapestry work; in the elegant forms required for vases, and all crockery and earthenware ; alike in the fine sculpture of the most delicate ornaments and the chis- elling of stone for public and private dwellings ; in all mouldings of wood and iron, and other ornamental work in architecture : and it is found to enter into all plans and patterns of utensils and tools, and into all objects of art which may be deemed capable of improvement by giving to them increased beauty of form and proportion. Indeed, all the vast variety of form and color which we observe in the works of man, beyond the requirements of the most barren utility, is simply ornamentation." PREFACE. The main purpose of this Primer is to give immedi- ate aid to drawing-teachers, especially to those who are officially required by drawing-committees of school- boards to teach elementary design in public schools. Having long seen the necessity of a simple work on the subject, I have studied to make both the text and the illustrations of this book easily intelligible to every one, and in a manner particularly profitable to all who are desirous of storing the minds of pupils with sound doctrine. But it should be understood fully, that, in design, principles only can be taught ; though much, in the way of giving inspiration to pupils who are ex- pected to make original designs, can be done by good teachers. This production is but the faintest promise of some complete Manual of Design very likely to appear by and by. 4 5 6 7 8 9 10 ii 12 13 TABLE OF CONTENTS. I. — INTRODUCTION. PAGE 1. The Symmetry of Nature 19 2. Man a Lover of Symmetry 19 II. — ORIGINAL COMPOSITIONS. 3. The Original Compositions expected from Public-School Pupils. 20 III. — WHAT IS MEANT BY INDUSTRIAL DESIGN. The Massachusetts Drawing Law ...... 20 Action of the City of Boston concerning Drawing . . .20 Object of Professor Walter Smith's System of Drawing . .21 Distinction between Fine Art and Industrial Art . . . .21 Industrial Design . . . ■ 21 Accuracy in Geometrical Drawing 22 Value of Geometry in Industrial-Art Education . . . .22 Elements of Form ' . .22 Fundamental Forms : Cube, Cylinder, &c 23 Geometry and the Skilful Designer • 23 IV. — COMPOSITION IN DESIGN. 14. Ruling Principles in Design ........ 23 15. Unity 24 16. Symmetry 24 17. Continuity ........... 27 IO TABLE OF CONTENTS. V.~ THE LAW OF REPETITION. PAGE 1 8. Repetition of Parts in a Design 28 19. Repetition in Nature 28 VI. — THE LAW OF ALTERNATION. 20. Exhibition of Principle in Greek Mouldings and Vases . . 30 21. Highest Degree of Alternation 30 VII. — THE LAW OF RADIATION. 22. Principle of Radiation in Nature and Art 31 VIII. — THE LAW OF PROPORTION. 23. Beauty of Proportion 2>3 24. Application in Elementary Design 33 25. The Spiral of Archimedes . * ... . . . 34 IX. — MATERIALS FOR DESIGNS. 26. Natural and Other Forms as Materials for Designs . . . 34 27. Historical Ornament 35 28. Use of Designs found upon Music-Sheets, Wall-Papers, &c. — Note-Books, Tracing-Paper . . . . . . . 35 29 30 3i 32 33 34 35 36 X. — METHODS OF CONSTRUCTION. Arrangement of Parts in a Composition 36 Bi-Symmetrical Arrangement 37 Tri-Symmetrical Arrangement . . . . . -37 Multi-Symmetrical Arrangement 37 Radiating Ornaments 37 Vine-Arrangement 37 Progressive Ornament ^7 Arrangement in High Grades of Ornament 38 TABLE OF CONTENTS. II XL — RULES FOR ELEMENTARY DESIGN. PAGE A. Enclosing Forms, Regular Figures . 39 B. Perspective Effects 39 C. Natural Growth, in Plant Forms, to be followed . . . .39 D. Starting-Points of Stems 39 E. Connection of Parts in a Design .40 F. Space to be covered 40 G. Distortion of Stems 40 H. Stems not to be Prominent 40 I. Pictorial Representations of Stars, Flags, &c, not allowed . . 40 y. Border-Lines, Details, &c 41 K. Interlacing Bands, Carved Scroll-Work . . . . .41 Z. Borders 41 M. Junctions of Lines 41 N. Conventional Forms 42 O. Arrangement of Parts in a Design like Embroidery . . -43 P. Half-Tint 43 Q. Overlapping Leaves 43 R. Construction-Lines 43 S. Shading, Coloring 43 T. Central Parts of Designs 43 XII. — PROGRESSIVE STEPS IN ELEMENTARY DESIGN. 37. Selection of Geometrical Form and Elements . . . -45 38. First Draughts in Design ; Thought and Study necessary . . 45 39. Composition of the Unit of Design .45 40. Failures, New Trials, &c 45 41. Careful Copy of Unit of Design on New Paper . . . .46 42. Registering-Ltne, Tracing-Paper, &c .46 43. Repetition of Unit 46 44. Tracing-Paper in Position 46 45. Methods of Repeating by Use of Tracing-Paper . . . . 46 46. Use of Soft and Hard Pencils in repeating Unit of Design . 47 47. Finishing a Design 47 12 TABLE OF CONTENTS. XIII. — DRAWING-MATERIALS. PAGE 48. Pencils, Drawing-Paper, &c . 47 49. Tracing-Paper, Scale, &c . . 48 XIV. — CONCLUSION. 50. Concluding Remarks . 49 ILLUSTRATIONS. PAGE Snow-Flake 19 Dog-rose 19 Lines, Straight, Broken, and Curved 22 Symmetry in Nature 25 Symmetry in Art 26 Symmetrical Flower 27 Greek Fret . . • 28 Plate, Butterfly Border 29 Calico Print 29 Egg-and-Dart Moulding 30 Anthemion and Lily Border 30 Glass Window 31 Radiation in Nature 32 Radiation in Art ^3 Spiral of Archimedes 34 Bi-Symmetrical Ornament 36 Tri-Symmetrical Ornament .36 Multi-Symmetrical Ornament 36 Radiating Ornament . . . 36 Vine-Arrangement in Ornament 27 Pyramidal Ornament 38 Harmonic Lines 42 Inharmonic Lines . .42 Ivy-Leaf, Natural 42 Ivy-Leaf, Conventionalized .42 13 ! 4 ILL USTRA TIONS. BOTANICAL ELEMENTS FOR DESIGNS. ENLARGED OR REDUCED FOR USE. I. i. Snow-Drop. 2. Daisy. 3. Daphne Mezereum. 11. 4. Marigold. 5. Blue-Bottle. 6. Bindweed. hi. 7. Broom. 8. Harebell. 9. Heather. IV. 10. Anemone. ii. Dog-Rose. 12. Stitchwort. V. 13. Herb-Robert. 14. Buttercup. 15. Forget-me-not. VI. 16. Primrose. 17. Cowslip. 18. Ground-Ivy. 19. Henbane. 21. Crocus. 20. Bush-Vetch. 22. Bryony. ILL USTRA TIONS. IS VIII. 23- Wild Geranium. 25- Corn Crowfoot. 24. Hepatica. IX. 26. Agrimony. 27. Nightshade. 29. Loose-Strife. 28. Potato. X. 3°- Spider-Wort. 3*« Garden Radish. 33- Avens. 32. Borage. 34- Hawthorn. HISTORICAL ORNAMENT. Egyptian Lotus. Pavement-Slab, — Nineveh. Antefix, — Acropolis, Athens. Greek Anthemion and Lily. Ancient Roman Frieze. Romanesque Decoration in the Old Senate-House, Saalfeld. Early Gothic Ornament. Moorish Wall-Decoration. ERRORS IN DESIGNS. ORIGINAL DESIGNS SHOWING ERRORS. ORIGINAL DESIGNS COMPLYING WITH GENERAL LAWS OF ELEMENTARY DESIGN. PRIMER OF DESIGN. PRIMER OF DESIGN. I. — INTRODUCTION. i. If a snow-flake is placed under a microscope, it will be found that the elements compos- ing the crystallized drop of water are arranged with marvellous regularity about a common centre ; and if a flower, as the wild rose, is held in the hand, the same illustration of external symmetry will be seen in it. Both flower and flake, reader, are revelations of the everlasting geom- etry of the great FORM-WORKERof the Universe, in whom we have our being. 2. We are all lovers of symme- try, from the rudest savage to the most civilized man. The high- er the culture, the greater the shrinking from things rough and unseemly, and the 19 20 PRIMER OF DESIGN, more intense the desire for forms that give pleasure. We crave symmetry, and, through our love of it, find our way to the perception of geometric law, and, by that law, to the grasping of the things that make real our ideals. II. — ORIGINAL COMPOSITIONS. 3. The original compositions expected from the pu- pils of public schools should be forms in that branch of ART-EDUCATION known as DECORATIVE DESIGN, whose laws have to deal with accessory or appended orna- ment,— with decorations belonging to principal forms, as attachments ; and the work should be, in primary and grammar schools, elementary or educational, and, in high schools, industrial. III. — WHAT IS MEANT BY INDUSTRIAL DESIGN. 4. In the year 1870, upon the evidence of many cele- brated manufacturers and distinguished gentlemen of New England relative to the scarcity of good native designs and skilled artisans in America, the State of Massachusetts passed the now well-known Drawing Law, requiring drawing to be taught in all the public schools, and free instruction in industrial drawing to be given to all persons over fifteen years of age in cities and towns having more than ten thousand inhabitants. 5. Immediately after the passage of the law, the city of Boston established, through its School Board, the thoroughly well-organized system of drawing planned by PRIMER OF DESIGN. 21 Professor Walter Smith. His scheme is now in suc- cessful operation, not only in Boston, but in many of the largest cities of the country. 6. This system of instruction in drawing is especially devoted to the industrial needs of the country ; and its workings are constantly operating to improve industrial manufactures, to make skilful designers, and to diffuse a knowledge among the people of that kind of art-edu- cation which forms the basis of all industrial progress. 7. Seeing very little distinction, if any, between the so-called fine arts and industrial art, and knowing that the union in one person of the artist and artisan has always been productive of things most precious to men, I venture to say, that to be a designer — in the full sense of the word, as an art-worker — is to live close to the very kingdom of the beautiful, and in actual con- tact with every thing that is ennobling. 8. Industrial design — or, to speak more gener- ally, decorative design — is that which mostly points to geometry as its distinct foundation : therefore prac- tical geometry should early enter into the work of pupils from whom original designs, as surface-deco- rations, are expected ; because in practical geometry is found the law of all forms, the constructing frame- work of all ornament intended to add beauty to utility. This reliance of art-education upon geometry — the art-education contemplated by the law-makers as a measure to obtain for the State a new era of industrial development — cannot be too rigidly set forth, or too closely insisted upon. 22 PRIMER OF DESIGN. 9. Geometry, being essentially an exact science, requires the very greatest accuracy in work ; and no teacher should expect good results in the study without insisting that all slovenliness and carelessness on the part of pupils should be avoided. The same ground should be gone over frequently, and every step in the construction of a problem should be exactly executed. 10. The intelligent teacher is, by a moment's thought, thoroughly convinced of the great value of practical geometry in the study of form. In pictorial delineation all the work of the hand and eye is limited to the use of points, lines, angles, triangles, squares, curves ; and the endless combinations of these give rise to the things we daily see from Nature's vast sources of construction, or from the workshops of man. n. Modes of matter are modes of occupation in space ; and every mass which we call body is a union of surfaces com- posed of two — or, at the most, of three — element- ary parts, in varying relations to each other. These simple elements are the straight line, the curved line, and the bro- ken line. There are no other kinds of lines in nature ; and with these the Almighty Designer has pro- PRIMER OF DESIGN. 23 duced the myriad of shapes we see everywhere : there- fore man, who can only imitate and re-arrange, must, in his work, use the same elements. 12. A reference to nature or art will show that the lowest class of bodies, standing as types of construction, is made up of figures compounded altogether of straight lines, such as the cube, pyramid, prism, &c. ; that the next above in order, comprising the sphere, ovoid, ellipsoid, &c, is composed entirely of curved lines ; and that the third class, comprising objects represented to the eye by both straight and curved lines, is illustrated by the cone, cylinder, &c. This last class is, by its na- ture, without fixed limits. The first method of formation — that developed by straight lines — is found in the mineral world ; the second — that developed by curved lines — in the animal world ; and the last — that de- veloped by a mixture of straight and curved lines — in the vegetable kingdom. Every branch of industry must turn to these forms of nature as models for imita- tion. 13. All the resources to be found in the science of geometry, then, should be close to the thinking brain and skilful hands of a good designer. IV. — COMPOSITION IN DESIGN. 14. The three ruling principles of composition in ornamental decoration are Unity, Symmetry, Continuity. 24 PRIMER OF DESIGN. 15. Unity is the assemblage of the separate portions of a design into one whole : and the very first condi- tion of a good design for decoration is, that it shall manifest in all its parts intelligible relation to the whole ; i.e., all the parts of the design must be in such \ harmonious relation and keeping as to be easily recog- nized as complementary portions of the whole. To secure unity in a design, each part must be carefully studied, and nothing whatever introduced into the com- position thoughtlessly. All confusion and contradiction must be avoided, and the proper correspondence of parts kept constantly before the mind as the chief thing to be desired. Unity, as an effect in the whole mass of a composition, may be completely preserved, though great variety in the details of a work is allowed, variation in details being a legitimate means of imparting beauty to a design. 16. Symmetry — following the relation of parts to the whole — is the relation of parts to each other. This principle requires that the same dimensions adopted for one member shall be adopted for every other like mem- ber ; that individual parts belonging to the same whole must have a perfect likeness to each other. For in- stance, if the whole consists of parts identical each with the other, each part ought to form the half of the whole. To simplify this, let me state that Symmetry is a perfect equality of form on either side of a straight line, opposite parts equally balancing each other. PRIMER OF DESIGN. Symmetry m Nature. \ 20 / PRIMER OF DESIGN. Symmetry in Art PRIMER OF DESIGN. 27 Diagram of a perfect symmetrical flower, showing the various circles or parts alternating with each other. The outer circle, or whorl, the calyx, 1; the next circle, its parts alternating with those of the calyx, the corolla, 2; within that, the stamens, 3; and, occupying the centre of all, the pistil, 4. 17. Continuity is the identification of each part of a design, symmetrical or unsymmetrical, with another part, and with the whole. A bond of union of parts must exist, and be made clearly manifest, in such a way, that not only one part, but all, shall be seen to be har- moniously united to form a whole. Continuity in a design means uninterrupted pleasing connection of parts, differing in shapes. It is distinguished from unity in this respect : unity requires subordination of parts to a whole. As continuity in a composition 1 means the orderly succession of parts differing in shape, if this principle is violated, unity is broken. Turner, in one of his best pictures, — " The Old Bridge at Cob- lentz," — adhered strictly to the law of continuity. 28 PRIMER OF DESIGN, V.— THE LAW OF REPETITION. 1 8. Closely allied to the great law of symmetry in decorative design is the law of repetition, which re- quires the orderly succession of parts in a composition. Any form, no matter how insignificant it may be in itself, becomes at once pleasing to the eye by orderly repetition, — by constantly appearing at equal distances. The straight lines forming the ornament known as the " Greek fret " become at once interesting by the orderly Fig. i. [b! rs Ea fa i repetition of Fig. I. The regular arrangement of the butterfly on the rim of the plate (page 29) gives instant delight to the mind. 19. Repetition in design appears constantly in the ornamental works of nature, and is universally adopted in decorative art. It commends itself to manufac- turers particularly, because the unit of design can be multiplied an endless number of times at little cost. PRIMER OF DESIGN. 29 3<> PRIMER OF DESIGN. The principle is very largely introduced in designs for paper-hangings, muslins, calicos, &c, &c. VI. —THE LAW OF ALTERNATION. 20. Alternation is the succession of different objects appearing regularly in turn. It is the union of repeti- tion and variety. The principle is clearly seen in the favorite Greek moulding, "egg and dart," in which two dissimilar forms are brought together, each by contrast heightening the effect of the other. It is also seen in the beautiful conventionalized honeysuckle and lily forming this border, taken from a Greek vase : — 21. The highest degree of alternation is contrast; but contrast should never be used in a design unless, it makes the whole composition more beautiful. Con- PRIMER OF DESIGN, 1VERSITY 31 trast, as a principle of decorative design, should always be subordinate to the laws that give harmony and strength to orna- ment. The law is manifested when a curved line is set off by a straight one, a large form by a small one, &c, &c. A group of un- interesting forms in a design, by the in- troduction among them of a few well- chosen shapes, may be made at once valuable and inter- esting ones. The principle of con- trast is well illus- trated in this de- sign for a glass window. VII.— THE LAW OF RADIATION. 22. Radiation is accessory to symmetry, but differs from it in this particular : forms disposed symmetrically upon a straight line must, in a radiating body, spring 32 PRIMER OF DESIGN. Radiation in Nature. PRIMER OF DESIGN. 33 from a common centre. The principle of radiation is everywhere manifest, both in nature and art, — from the web of the spider, which is a tissue of radiating threads, to the most complicated radiating ornament ever in- vented. VIII. — THE LAW OF PROPORTION. 23. Beauty of proportion should be constantly con- sidered in the making of a design. This is a perfect harmony of the whole with any of its parts. An ori- ginal composition is beautiful in its proportions when all its members keep definite relations of beauty to each other and to the whole. The proper balance of straight lines, and the graceful arrangement of curved ones, must enter into the thought of the designer, and be kept con- stantly in mind, if he wishes to make a system of linear harmony that will give, pleasure to the eye. 24. Proportion in a design is the comparative rela- tion of lines to each other in respect to character, size, quantity, movement, and harmonic value. The law of proportion is often mathematically stated, and has been very carefully illustrated by the use of numbers. As far as it concerns elementary design, a familiar illustra- tion of its application will be of greater practical value to teacher and student than a complicated and theoreti- cal demonstration. The more subtle a curve is, the more beautiful it is. This beauty is produced on ac- count of the proportion existing between the parts of a straight line on which it can be imagined that it was 34 PRIMER OF DESIGN. constructed. Suppose two straight lines, each one inch long, mutually bisect each other at right angles : the curved line naturally constructed through their four extremities is the circumference of a circle which lacks beauty. But take the same lines, and divide each into the number of parts by means of which a spiral can be constructed, and the curve so made is not lack- ing in beauty. 25. The spiral of Archimedes, of the greatest value in ornamental de- sign, fully illustrates the law of pro- portion and subtlety. IX. — MATERIALS FOR DESIGNS. 26. Having briefly considered some of the leading principles of decorative design, I now turn the attention of the reader to a consideration of the use of natural and other forms as materials for construction in orna- mental art. In nearly all the periods of ornamentation men have gone directly to Nature for the means of pro- ducing valuable decorations ; and the amazing richness and variety of her treasures, particularly in the vegeta- ble world, constantly offer to the designer things ad- mirably adapted for art-treatment. From the study of natural forms, particularly from those of the vegetable world, the general laws of decorative design were de- rived; and the best decorators of this present time are PRIMER OF DESIGN. 35 they who lovingly meditate upon Nature's works, and enlarge their artistic perceptions by using even the sim- plest things from her inexhaustible treasury. 27. Next in importance to the study of natural forms comes the study of historical ornament ; and I recom- mend for that purpose the very valuable selection of characteristic examples arranged under the superintend- ence of Professor William R. Ware, of the Massachu- setts Institute of Technology. 28.* Finally, materials for elementary designs can be obtained from numberless sources in homes and highways ; and note-books or tracing-paper should always be ready to preserve them as they offer themselves to the eye. The author desires it to be understood, in this connection, that parts of designs found upon books, music-sheets, diplomas, wall-papers, &c, are often very valuable to a designer of new decorations. When such parts are found by pupils who are working on designs, they may be appropriated and used without being re- drawn, if they can be applied successfully by tracing- paper ; provided they are approved of by the teacher. 36 PRIMER OF DESIGN. X. — METHODS OF CONSTRUCTION IN DESIGN. 29. An ornamental composition may be — Bi-Symmetrical {two parts), Tri-Symmetrical {three parts), or Multi-Symmetrical (more than three parts). It may have its parts ar- ranged like a fan, radiating from a point ; or they may be constructed as the parts of a PRIMER OF DESIGN. 37 natural vine are, but conventionally disposed, with a continuous and regular movement. 30. Bi-symmetrical ornaments should always be in- tended for vertical positions, as in the case of designs for wall-papers, curtains, door-panels, &c. 31. Tri-symmetrical ornaments are not in common use. They may be placed where they can best display their beauty. 32. Multi-symmetrical ornaments, because they look equally well from all points of view, are adapted to oil- cloths, carpets, table-covers, bed-spreads, &c. They can also be used upon a wall or other vertical surface with- out offending the eye. 33. Radiating ornaments, in which the parts radiate from a point and spread out like a fan, should not be used upon horizontal surfaces, and, when in position, should usually have their parts pointing upward. 34. Designs constructed upon the vine arrangement should be rhythmical ; that is, the same features should regularly repeat themselves as the leaves and flowers do upon a natural vine. 35. An ornamental composition may be progres- 38 PRIMER OF DESIGN. sive ; i.e., it may, by the increasing and decreasing progression of a single figure, become suitable for pyramidal surfaces. 36. In high grades of ornamentation, not of course noticed in this simple elementary book, examples of decoration are found in which the parts enclosed in the geometrical form are not symmetrical ; but the enclos- ing form which determines the outline of the whole is always a symmetrical figure. RULES FOR ELEMENTARY DESIGN. XL — RULES. A. The original compositions intended for surface-decoration should be enclosed in regular geometrical figures. B. In elementary design, perspective effects of flowers, leaves, buds, or other objects, must be used very sparingly, as many good surface-deco- rators reject them altogether. C. Flowers must not project from the tops of leaves and buds ; leaves or buds should not ap- pear to spring from the tops of flowers. They should all be drawn, as far as possible, in the order of their natural growth, from stems or roots, so as to give unity to the design. D. No stem should proceed from the corolla of a flower, but should be drawn, even if it is covered by other parts of the design, so as to be 39 40 PRIMER OF DESIGN. easily traced to its starting-point in some other and larger stem. E. No part of a design should ever be left floating as it were in space (unless the design is one for the commonest wall-paper or a cheap tile), but should have its proper attachment to the main body of the design. F. Two-thirds of the ground enclosed in the geometrical form should be devoted to the design, and no part of the design should ever extend be- yond its geometrical border. G. No stem should ever be twisted about a flower, a bud, or a leaf; and stems should not be split to allow other stems to pass through them. H. Stems should not proceed far without in- terruption, and there should not be too many of them in a design. •» /. The leading lines of support to elements should be clearly defined. Pictorial representa- tions of stars, flags, &c, must never form a part of an elementary design. PRIMER OF DESIGN, 4I y. Details should be of such a size as not to appear finical and confused, and border-lines of all similar figures in the ornamental construction should be of the same tint and thickness. K. Interlacing bands should alternately rise above and pass beneath each other, and no rep- resentation of carved scroll-work should ever be introduced into any elementary design. Z. A plain border of one or two dark lines, a simple fret, a ribbon of overlapping leaves, or a repetition of a snow-crystal or of some simple geometrical figure, is all that should be allowed to enclose an elementary design ; and no name, or initials of a name (unless they happen to be sym- metrical letters, — AHMOT U V W X Y) should ever be placed in any part of the ornament designed. M. Junctions of curved lines, or of curved lines with straight ones, should be tangential to 42 PRIMER OF DESIGN, each other ; and curved lines passing into straight ones should pass into them harmoniously. Correct, — harmonic. Wrong, — inharmonic. N. If wholes or parts of natural forms, flow- ers, leaves, buds, &c, are taken as elements, they must be treated more or less conventionally ; but every thing that contradicts laws of growth — such as the combination of the leaves of one plant with the flowers of another — should be strictly avoided. Note. — Flowers, leaves, and buds are treated conventionally when their general forms only are imitated : when they are made symmetrical, minute irregularities of outline are omitted. Natural leaf, Ivy. Same leaf conventionalized. PRIMER OF DESIGN. 43 O. Forms must not be too small in proportion to the ground to be covered, and any arrangement of lines like embroidery should be avoided. P. If half-tint is used to separate the orna- ment from the back-ground, either upon the back- ground or the ornament, the lines producing the tint should not be too near together ; and it is best that they be drawn either horizontally or ver- tically. Q. Leaves may overlap each other ; but the parts of leaf- outlines hidden by overlapping leaves must not be represented in any way. R. All construction-lines in a design should be drawn very faintly, excepting those selected to be axes of units of design : these should be dis- tinctly but not heavily made. S. All shading of forms in elementary design is entirely out of place, and any use of colored crayons is altogether wrong. T. Devices selected for centres of designs ;hould be small in proportion to the whole space? 44 PRIMER OF DESIGN. to be covered : for example, in a square having sides of five inches, the central figure ought not to be more than one inch in diameter. They should have a firm, solid appearance, as they are places of attachment and support for all the lead- ing parts of the design. XII. — PROGRESSIVE STEPS IN ELEMENT- ARY DESIGN. Rule and measure every line that can be ruled and measured. 37. First select the geometrical form to be filled, — square, triangle, hexagon, &c. ; next decide upon the subject to be used as an element, either from plant- forms or ornamental detail, — as ivy, anemone, or rose, &c, &c, — anthemion or lotus ornament, &c, &c. 38. Draw on common paper the geometrical figure to be filled ; draw its diagonals, diameters, and any other lines to be used for construction that may seem necessary. Think of different combinations of the elements selected, and decide how arrangements of them may be made upon any of the construction-lines. As it would be necessary in English composition to first have an idea to express, and then to clothe it in words ; so, in design-composition, similar reflection and care are necessary. 39. Draw one unit ; that is, what will fill one-eighth of a square, one-twelfth of a hexagon, &c, &c. 40. Perhaps the first attempt will not be successful ; but new trials can be made .in similar spaces of the rough sketch. A professional designer always works in this way. 46 PRIMER OF DESIGN, 41. When the unit of design is ready to be repeat- ed, prepare carefully in a drawing-book, or on suitable paper, a new geometrical figure like the one used in the rough draught ; draw diagonals, diameters, and other construction-lines, very faintly ; and make in the fig- ure thus prepared a careful free-hand drawing of the unit of design already composed. 42. Place upon the drawing a piece of tracing-paper. Draw with a ruler on the tracing-paper, very accurately, the axis of the unit designed, which is technically called, as it stands upon the tracing-paper, "the Registering- Line.,, Do not let the tracing-paper slip or move at all. Trace upon it with a soft pencil the figure designed. 43. The design can now be completed very perfectly, and with little work, — just as a hundred books can be easily printed from one set of plates. It will be seen, that to repeat the unit of design is now a printing process. 44. Place the side of the tracing-paper on which the drawing is on the adjoining space to be filled, and be very careful to make the registering-line and axis of the unit of design coincide. 45. There are several methods of impressing or printing the traced figure. The best way is to go over the drawing again with a soft pencil upon the clean side of the tracing-paper while it lies in position. When the tracing-paper is removed, a correct impres- sion will be found upon the white paper. Continue this process until the entire figure is filled. PRIMER OF DESIGN: 47 46. . For the first tracing on each side of the tracing- paper a soft pencil should be used. In order to print a clear outline from the tracing, go over the outline on the tracing-paper with a hard pencil. 47. The whole design, after the impressions of the unit qi design are all made, is to be nicely finished with a hard pencil ; and all lines, in each system of lines, ought to be of the same thickness and tint. Construc- tion-lines will not be noticed if they were drawn as directed in paragraph 41. XIII. —DRAWING-MATERIALS. 48. In order to make good drawings for any kind of ornamentation, the very best materials, in the way of paper, pencils, &c, &c, should be upon the drawing- table of the designer. Any first-class dealer in artists' supplies will furnish qualities of good paper ; but the matter of pencils to be used needs special consideration. Two kinds of first-rate pencils are absolutely necessary to the pupil who is expected to make good designs, — the first, a soft pencil, to be used for tracing upon the tra- cing-paper ; the second, a hard one, for outlining forms, and for finishing. Good pencils — those that can be evenly cut, the grain of the wood running parallel to the lead, and the lead of such perfect quality as to have no brittleness whatever in it — are not easily found ; and the author believes that a conscientious notice, in his book, of a thoroughly reliable grade of lead-pencils, 48 PRIMER OF DESIGN, will be gladly received by artists, architects, engineers, &c, and by all who desire to use only the very best pencils that can be bought. The grades of pencils in constant use by the author of this work, and in every way recommended by him, are those bearing the regis- tered trade-marks of the swan and the anchor, — Gross- berger & Kurz, Niirnberg, manufacturers ; Rothe & Lips, New York, Amer- ican agents. The swan pencil has sixteen grades of hardness, the anchor five grades ; and all have received the very highest testimonials in their favor. They can be obtained from deal- ers in artists' supplies, and from stationers generally. The following marked pencils are particularly recom- mended for use in the branches of drawing required in the public schools : Anchor, B B, H B, H H, F ; swan, 2 B, H B, F, 2 F, H, 3 H, 4 H. 49. Tracing-paper of the very best quality, and the best rubber that can be obtained, should always be used by the designer ; and a good piece of yellow beeswax, for fastening tracing-paper to the drawing-paper (a bit of the wax of the size of a pin's head to be used for that purpose), is often necessary. A good "scale," with inch, half-inch, and quarter-inch marks on it, will be needed. The set square invented by Professor Wal- ter Smith is the best one to use. A sharp knife, with a small file or piece of sand-paper, should also be found with other materials for designing. PRIMER OF DESIGN. 4g XIV. — CONCLUSION. 50. And now, in the hope that I have at least par- tially removed difficulties that seem to have caused much anxiety on the part of teachers officially called upon to produce original designs from pupils, and trusting that new energies may be put forth by all con- cerned in studying design in the schools, with a few brief remarks I bring my labors to a close. It is not to be wondered at that even the most accom- plished teachers shrink from the task of attempting to obtain from pupils much in the way of elementary design that would be suitable for any purpose of deco- ration. The belief is pretty general among educators, that the power to produce truly artistic things is not inherent in all men, — is to be found, indeed, only in very few. Nevertheless, great things can be accom- plished by pupils if the underlying principles of the art of design are faithfully taught. But, to obtain satisfactory results in the class-room, pupils should be led carefully to see that the making of an original composition involves the conception of an end to be reached, willingness to study to reach the end, and a complete comprehension of the means at hand to secure it. It should be fully understood by the teacher, that the work of the pupil will be valueless if it contains no expression of thoughtful labor ; if it cannot be so analyzed as to reveal some adaptation of powers, some So PRIMER OF DESIGN. use of governing laws. Unvarying patience on the part of the teacher, together with constant encouragement to pupils, and many-times repeated black-board illustra- tions of large size explanatory of the work in hand, is absolutely necessary. The teacher should not attempt too much at a time, but should lead the class by short, successive, and sure steps to the attainment of such work as will give each individual the deep satisfaction of having done some- thing that will give pleasure to the eye, and so to the heart. To write a good English composition is a diffi- cult task. Scholars fail both in ideas to express, and in the use of words to clothe, properly the thoughts they have ; yet all teachers labor patiently to teach English composition. Drawing is a universal language. With the same untiring zeal, strive to teach pupils to express thoughts in it, and, indeed, to think in it. The teacher should always remember, that to inspire a child or youth with even the smallest desire to lay hold on things calculated to increase in the mind a love for the beautiful is to be at once worthy of being named with that apostle who wrote, " Finally, brethren, what- soever things are true, whatsoever things are honest, whatsoever things are just, whatsoever things are pure, whatsoever things are lovely, whatsoever things are of good report ; if there be any virtue, and if any praise, think on these things." OTANICAL ELEMENTS FOR DESIGNS. ©F THK CVER'SITY ©*" THE ERSITY v V'?/,' ' ) No. 18. No. 23. No. 24. No. 25 No. 26. No. 27. No. 28. No. 29. No. 30. No. 31. No. 32. No. 34. ©F THE "^HIVEBSITY oF HISTORICAL ORNAMENT. No. i. No. 2. No. 3. No. 4. No. 5. No. 6. No. 7. No. 8. ERRORS IN DESIGN. A EXERCISES IN ORIGINAL COMPOSITION NOT COMPLYING WITH THE Laws of Elementary Design. No. i. — The parts of this composition are not properly connected. \_ \ 3 R A ^> pr ©F THE IHIVEHSITY No. 2. — In this design single flowers spring from leaves by double stems ; leaves spring from buds, &c. No. 3. — This design is greatly injured by the introduction of the bars that pierce it. No. 4. — In this composition flowers are attached to both ends of stems. No. 5 — This composition is not in any way pleasing to the eye. It is incorrect, because flowers proceed from figures resembling historical ornament. No. 6. — The principal fault of this design is, that parts of it have no connection with the centre : both unity and radiation are violated. No. 7. — This design is valueless, because the detail is without character, and minute. It resembles a confused and unsuitable pattern for embroidery. No. 8. — Leaves spring from flowers ; flowers proceed from flowers. X No. 9. — This design is incorrect, because it is composed of leaves, geometrical figures, and historical ornament. No. 10. — In this design three flowers proceed from two leaves, and there is manifestly a lack of harmonious union of parts at the centre. No. ii. — In this composition pieces of leaves are entirely detached from the rest of the design, and complete leaves are united to the ends of stems. No. 12. — This design does not appear to violate any law ; but it does not alto- gether please the eye. ,jr EXERCISES IN ORIGINAL COMPOSITION COMPLYING WITH THE Laws of Elementary Design. No. i. '£ *o^ •3 -Otf No. 4. OF THE UNIVERSITY of No. 5. OF THE UNIVERSITY Of c No. 6. No. 7. No. 8. Art Publications, Professor Charles A. Barry's New Book. MODEL AND OBJECT DRAWING; OR, THE REPRESENTATION OF OBJECTS (Particularly the Geometrical Solids used in Art-Schools) as they appear. An Essay prepared for Instructors in Drawing, and American Art-Students. 4to. Numerous illustrations. Price 50 cents. PRIMER OF DESIGN. By Charles A. Barry, late Supervisor of Drawing, Boston Public Schools. 75 illustrations. Net, 75 cents; by mail, 90 cents. " The primary aim of this beautifully illustrated primer is to give aid to drawing- teachers. The principles are illustrated in a way to make them intelligible and useful to every one teaching design." — New England Journal of Edtication. ART AND ARTISTS IN CONNECTICUT. By H. W. French. Full gilt. 8vo. $3.75. •This elegant volume comprises sketches of nearly two hundred artists whom Connecticut claims either by birth or adoption. The work is beautifully illustrated with full-page and letter-press designs, comprising portraits of artists, engravings of their work, and in many cases original designs, specially prepared for this book. ELEMENTS OF DESIGN. For the use of Teachers and Parents. By Dr. William Rimmer, Boston Art- School (Museum of Fine Arts). 48 full-page illustrations. Cloth. Net, $2.00; by mail, $2.25. Dr. Rimmer's manual exemplifies a method of teaching drawing founded on the idea that it does not signify merely an imitation of forms, but that it aims mainly to reproduce expression. It is a bold and attractive drawing-guide, which, taking the human form as a model, gradually unfolds, from the simplest lines to the full anatomical subject, the elements of figure-drawing in all their variety of limb, feature, muscle, and form, rendering easy of comprehension every intervening step. It is a work invaluable to the student and the artist. ART: ITS LAWS AND THE REASONS FOR THEM. Collected, Considered, and Arranged for General and Educational Purposes, by Samuel P. Long. i2mo. Cloth. $2.00. It is a very handsome book, with steel-plate illustrations; a work of decided aerit, and a pleasant guide in the search for the good, the beautiful, the true. THE PRINCES OF ART. Translated from the French by Mrs. S. R. Urbino. i2mo. Cloth. $2.00. It is a pleasant book, designed not for the professional or amateur only, but for popular enlightenment about those men who, with the Brush, the Chisel, or the Graver, have achieved an immortality of fame. For sale by all booksellers and newsdealers, and sent by mail, postpaid, on receipt of price. LEE & SHEPARD, Publishers Boston. PRACTICAL TALKS. EVERYBODY WANTS THE TELEPHONE. An account of the Phenomena of Electricity, Magnetism, and Sound, as involved in it3 action ; with directions for making a Speaking Telephone. By Prof. A. E. Dol- bear, of Tufts College. i6mo, illustrated. 75 cents. " An interesting little book upon this most fascinating subject, which is treated in a very clear and methodical way. First, we have a thorough review of the discoveries in electricity, then of magnetism, then of those in the study of sound — pitch, velocity, timbre, tone, resonance, sympathetic vibrations, &c. From these the telephone is reached, and by them in a measure explained." — Hartford Courant. THE ART OF PROJECTING. A manual of Experimentation, Physics, Chemistry, and Natural History, with the Porte-Lumiere and Magic Lantern. By Prof. A. E. Dolbear. i2mo, cloth, illustrated. Price, $1.50. " This book supplies a place no former treatise has filled. For several years we have made frequent use of the oxyhydrogen light and porte-lumiere for class-room illustration, but we find here many things we had never thought of before. The book abounds in descriptions of practical and easily tried experiments, any ingenious teacher can easily try with little expense. It is not an addition to the existing number oi scientific treatises, but an exceedingly useful help to all, alike valuable for the beginner and college professor." — National Teachers' Monthly. PRIMER OF DESIGN. By Charles A. Barry, late Supervisor of Drawing, Boston Public Schools. 75 illustrations. Net, 75 cents. By mail, 90 cents. " The primary aim of this beautifully illustrated primer is to give aid to drawing- teachers. The principles are illustrated in a way to make them intelligible and useful to every one teaching design." — New-England Journal of Education. " Mr. Barry is an artist of eminent ability, excelling especially as a draughtsman; and his experience as a teacher is made available in presenting with force, precision, ind clearness, the principles and laws which he undertakes to inculcate. As a text- book it will prove very serviceable, and we should be very glad to see its value recog- nized in our public schools." — Epitome of Literature, Philadelphia. ELEMENTS OF DESIGN. For the use of Teachers and Parents. By Dr. William Rimmer, Boston Art School (Museum of Fine Arts). 48 full-page illustrations. Cloth. Net, $2.00. By mail, $2.25. Dr. Rimmer's manual exemplifies a method of teaching drawing founded on the idea nat it does not signify merely an imitation of forms, but that it aims mainly to repro- duce expression. It is a bold and attractive Drawing-Guide, which, taking the human form as a model, gradually unfolds from the simplest lines to the full anatomical sub- ject, the elements of figure-drawing, in all their variety of limb, feature, muscle, ano form, rendering easy of comprehension every intervening step. It is a work invalua- ble to the student and the artist. For sale by all booksellers and newsdealers, and sent by mail, postpaid, on receipt of price. LEE & SHEPARD, Publishers . . . . \ . . . Boston. AIDS TO EDUCATION. Hand-Books of English Literature. For the use of High Schools, for Private Students, and for General Readers. By Francis H. Underwood, A.M. British Authors; Cloth, $3.50. American Authors; Cloth, $2.50. Pronouncing Hand-Book of Three Thousand Words often Mispronounced, and of Words as to which a choice of Pronounciation is allowed. By Richard Soule and Loomis J. Campbell. Cloth, 60 cents; School Edition, 35 cents. Bacon's Essays. With Annotations. By Archbishop Whately. Students' Edition, containing a Preface, Notes and a Glossarial Index. By F. F. Heard. $2.50. Art; its Laws and the Reasons for Them. Collected, considered and arranged for General and Educational purposes. By Samuel P. Long. $2.00. Manual of Bible Selections and Responsive Exercises. For Public and Private Schools of all grades, Sabbath and Mission, and Reform Schools, and Family Worship. By Mrs. S. B. Perry. $1.00. The Art of Projecting. By Prof. A. E. Dolbear. A Manual of Experimenta- tion in Physics, Chemistry and Natural History, with the Porte-Lumiere and Magic Lantern. With numerous Illustrations. $1.50. The Telephone. By Prof. A. E. Dolbear. An account of the Phenomena of Electricity, Magnetism and Sound. Illustrated. 75 cents. Arithmetic for Young Children. By Horace Grant. American Edition, edited by Willard Small. Cloth, 35 cents. A Manual of English Pronounciation and Spelling. Containing Alphabetical Vocabulary of the Language. By R. Soule and W. A. Wheeler. $1.50. Works of Virgil. Translated into English Prose, with an Essay on the English Translators of Virgil, by Prof. John Conington, late of Oxford University. Edited by John Addington Symonds. Cloth, $2.00. A Selection of English Synonymes. By Archbishop Whately. $1.00. Latin School Series. Selections from Latin Classic Authors. With Notes and a Vocabulary. By Francis Gardner, A. M. Gay and A. H. Buck, Masters oi the Boston Latin School. Phoedrus, Justin, Nepos. $1.25. Csesar, Curtius, Ovid. $1.50. Getting to Paris. A Book of Practical French Conversation. By Francis S. Williams, A.M. $1.50. Same in two parts; each, $1.00. The Historical Student's Manual. By Alfred Waites. 8vo. Cloth, 75 cents. Mother-Play. By Frederick Froebel. Translated fiom the German by Miss Jarvis and Miss Dwight. Whh 50 full-page Illustrations, and a number of German Kindergarten songs with English words. $2.00. Reminiscences of Froebel. By Baroness Marenholtz-Buelow. Translated by Mrs. Horace Mann. With a Biographical Sketch of Froebel. — By Miss Emily Shireff. $1.50. Primer of Design. By Charles A. Barry. 75 cents net; by mail, 90 cents. Model and Object Drawing. By Charles A. Barry. 50 cents. *** Sold by all Booksellers and sent postpaid on receipt of price. Special Terms to Schools and Teachers. LEE AND SHEPARD, Publishers, Boston. AS A TEXT-BOOK FOR SCHOOLS. \m Foils' Book of American Explorers. BY THOMAS WENTWORTH HIGGINSON. Uniform with the Young Folks' History of the United States. One vol. Fully illustrated. PRICE $1.50. The ground covered may be seen by the following list of subjects treated in successive chapters : The Traditions of the Norsemen ; Columbus and his Companions; Cabot and Verrazzano; The Strange Voyage of Cabeza de Vaca ; The French in Canada ; Her- nando de Soto; The French in Florida; Sir Humphrey Gilbert; The Lost Colonies of Virginia; Unsuccessful New-England Settle- ments; Capt. John Smith in Virginia; Champlain on the War- Path; Henry Hudson and the New Netherlands; The Pilgrims at Plymouth ; The Massachusetts-Bay Colony. "AS A TEXT-BOOK FOR SCHOOLS, This book fills one of the greatest needs of our schools, — a need which has long been felt, but which exists no longer. It is not a history told in the third person, nor an historical novel for young folks, where the author supposes the chief characters to have thought and said such and such things under such and such cir- cumstances ; but it is the genuine description given by the persons who experienced the things they described in letters written home." — Montpelier Journal. TESTIMONY OF THE PRINCIPAL OF ONE OF THE LEADING SCHOOLS FOR GIRLS, AT PORTLAND, ME. The Young Folks' Book of American Explorers is used in my school as a reader by a class of fourteen girls from twelve to sixteen years of age. They had some acquaintance with Ameri- can history; and I hoped this volume, while adding to their knowl- edge, would awaken a new interest in the subject. The result has not disappointed me. The very words of the brave men who opened the way to homes in the New World make the dry bones of history instinct with life. At one time each member of the class took the book as the subject of a composition, dwelling longest on the parts which seemed to her most interesting. Once a week its pages furnish words for a written exercise in spelling. Incidentally the reading increases acquaintance with geography, as the map is constantly consulted. The faces of the girls as they read are sufficient evidence of their interest ; and I can cordially recommend the book to other teach- ers who may wish to break in upon the routine of readers. Jan. 6, 1878. EUNICE D. SEWALL LEE & SHEPARD, Publishers, Boston. n OIKS ol m ] By Rev. P. C. HEADLEY. SIX VOLUMES. ILLUSTRATED. PER VOL. ®1.25. FIGHT IT OUT ON THIS LINE. The Life and Deeds of General U. S. Grant. A life of the great Union General from his boyhood, written for boys. Full of anecdotes and illustrations, and including his famous trip around the world. FACING THE ENEMY. The Life and Military Career of General William Tecumseh Sherman. The Glorious March to the Sea by the brave Sherman and his boys will never be forgotten. This is a graphic story of his career from boyhood. FIGHTING PHIL. The Life and Military Career of Lieut-Gen. Philip Henry Sheridan. The story of the dashing Cavalry General of the army of the United States. — A fighting Irishman. — Full of pluck and patriotism for his adopted country. The book is full of adventure. OLD SALAMANDER. The Life and Naval Career of Admiral David Glascoe Farragut. The Naval History of the great civil war is exceedingly interesting, and the life of Admiral Farragut is rich in brave deeds and heroic example. THE MINER BOY AND HIS MONITOR. The Car- eer and Achievements of John Ericsson, Engineer. One of the most thrilling incidents of the war was the sudden appearance of the Little Monitor in Hampton Roads to beat back the Merrimac. The life of the inventor is crowded with his wonderful inventions, and the story of his boyhood in the coal mines of Sweden is particularly interesting. OLD STARS. The Life and Military Career of Major- Gen. Ormsby McKnight Mitchel. ' ' Old Stars " was the pet name given the brave general by his soldiers, who remembered his career as an astronomer before he became a soldier. His story is full of stirring events and heroic deeds. JfST Sold by all booksellers, or sent by mail, postpaid, on receipt of price. LEE AND SHEPARD, Publishers, Boston. YOUNG FOLKS' HEROES OF HISTORY. By GEORGE MAKEPEACE TOWLE. Handsomely Illustrated. Price per vol., $1.25. Sets in neat boxei. VASCO DA GAMA: HIS VOYAGES AN," ADVENTURES. " Da Gama's history is full of striking adventures, thrilling incidents, and {>erilous situations; and Mr. Towle, while not sacrificing historical accuracy, ias so skilfully used his materials, that we have a charmingly romantic tale." — Rural New- Yorker. PIZ ARRO: HIS ADVENTURES AND CONQUESTS. " No hero of romance possesses greater power to charm the youthful reader than the conqueror of Peru. Not even King Arthur, or Thaddeus of War- saw, has the power to captivate the imagination of the growing boy. Mr. Towle has handled his subject in a glowing but truthful manner; and we venture the assertion, that, were our children led to read such books as this, the taste for unwholesome, exciting, wrong-teaching boys' books — dime novels in books' clothing — would be greatly diminished, to the great gain of mental force and moral purpose in the rising generation." — Chicago Alliance. MAGELLAN; OR, THE FIRST VOYAGE ROUND THE WORLD. "What more of romantic and spirited adventures any bright boy could want than is to be found in this series of historical biography, it is difficult to imagine. This volume is written in a most sprightly manner; and the life of its hero, Fernan Magellan, with its rapid stride from the softness of a petted youth to the sturdy courage and persevering fortitude of manhood, makes a tale of marvellous fascination." — Christian Union. MARCO POLO: HIS TRAVELS AND ADVENTURES. " The story of the adventurous Venetian, who six hundred years ago pene- trated into India and Cathay and Thibet and Abyssinia, is pleasantly and clearly told; and nothing better can be put into the hands of the school boy or girl than this series of the records of noted travellers. The heroism dis- played by these men was certainly as great as that ever shown by conquering warrior ; and it was exercised in a far nobler cause, — the cause of knowledge and discovery, which has made the nineteenth century what it is." — Graphic. RALEGH: HIS EXPLOITS AND VOYAGES. " This belongs to the ' Young Folks' Heroes of History ' series, and deals with a greater and more interesting man than any of its predecessors. With all the black spots on his fame, there are few more brilliant and striking figures in English history than the soldier, sailor, courtier, author, and ex- plorer, Sir Walter Ralegh. Even at this distance of time, more than two hundred and fifty years after his head fell on the scaffold, we cannot read his story without emotion. It is graphically written, and is pleasant reading, not only for young folks, but for old folks with young hearts." — Woman** Journal. DRAKE: THE SEA-LION OF DEVON. Drake was the foremost sea-captain of his age, the first English admiral to send a ship completely round the world, the hero of the magnificent victory which the English won over the Invincible Armada. His career was stirring, bold, and adventurous, from early youth to old age. Sold by all Booksellers, and sent by mail, postpaid, on receipt of price. LEE & SHEPARD, Publishers .... BOSTON. KINDERGARTEN LITERATURE. THE GREAT GERMAN FAMILY BOOK, Mother- Play I Nursery Songs, BY FRIEDRICH FROEBEL. Translated from the German by Miss F. E. Dwight, of Boston, and Miss Josephine Jarvis, of Chicago. Edited by Miss Elizabeth P. Peabody, of Concord, Mass. Illustrated by Fifty Engravings, with Notes to Mothers and Music for Songs. One large quarto volume. Bound, $2 00. Col. T. W. Higginson says, in " The Woman's Journal": " Everybody interested in the Kindergarten has felt the lack of direct inspiration from Froebel, for his style of speaking was not easy to understand or translate. His * Reminiscences,' by the Baroness Maren- holz, has, in part, supplied this want; but a more satisfactory and per- fect bond of union between the great leader and his admirers and fol- lowers has been secured through the three-fold medium of music, picture and story. The illustrations are from the original plates, and in the quaint conventional style of the German school in the Fifteenth Century, which adds, as it does to the * Walter Crane* books, an indescribable charm. The seven lines, like strongly accented music, will attract and hold the children, while it cannot fail to be admired by older eyes. The entirely new feature of this book is the atmosphere, from lid to lid, of living with the children, and this part of it is as indescribable as it is invaluable; it must be seen and felt to be understood. There are no parlors, nurseries, or gardens, with the mothers trying to enter- tain the children, but, from the babe on the pillow, on page seventeen, to the end, the mother follows and is taught by the natural instincts of the child how to meet his needs; as the gardener watches the natural growth of his plants and adapts his efforts to it. Every page is aglow with the natural activities of children. Scarcely an objection can be raised to the illustrations, and it may not be amiss to say that, next to the wholesome tone before mentioned, they furnish the crowning ex- cellence of the book. The music is very pleasing, and mainly j ust what is best adapted to children, though a few pieces are better suited to more cultivated ears and voices. The book is, with few exceptions, literally filled with the best material for mothers and kindergartners, and ought to go wherever there are children. The faults will be looked upon as inevitable under the circumstances, and the publishers and translators may be congratulated upon^ having opened such a rich treasure-house to American mothers and kindergartners." Sold by all Booksellers, and sent by mail postpaid on receipt of price. LEE & SHEPAED, Publishers, Boston. u * B R * ^p •* THR UNIVERSITY / S&MM -■waw*w«<,«^